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John Constable
1776-1837
British
John Constable Locations
1837). English painter and draughtsman. His range and aspirations were less extensive than those of his contemporary J. M. W. Turner, but these two artists have traditionally been linked as the giants of early 19th-century British landscape painting and isolated from the many other artists practising landscape at a time when it was unprecedentedly popular. Constable has often been defined as the great naturalist and deliberately presented himself thus in his correspondence, although his stylistic variety indicates an instability in his perception of what constituted nature. He has also been characterized as having painted only the places he knew intimately, which other artists tended to pass by. While the exclusivity of Constable approach is indisputable, his concern with local scenery was not unique, being shared by the contemporary Norwich artists. By beginning to sketch in oil from nature seriously in 1808, he also conformed with the practice of artists such as Thomas Christopher Hofland (1777-1843), William Alfred Delamotte, Turner and, particularly, the pupils of John Linnell. Turner shared his commitment to establishing landscape as the equal of history painting, despite widespread disbelief in this notion. Nevertheless, although Constable was less singular than he might have liked people to believe, his single-mindedness in portraying so limited a range of sites was unique, and the brilliance of his oil sketching unprecedented, while none of his contemporaries was producing pictures resembling The Haywain (1821; London, N.G.) or the Leaping Horse (1825; London, RA). This very singularity was characteristic of British artists at a time when members of most occupations were stressing their individuality in the context of a rapidly developing capitalist economy
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The Lock (nn03)
c 1824
Oil on canvas 142 x 120 cm 56 x 47 1/2 in Fundacion Coleccion Thyssen-Bornemisza Madrid
Painting ID:: 23276
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The_Lock_(nn03)
c 1824
Oil on canvas 142 x 120 cm 56 x 47 1/2 in Fundacion Coleccion Thyssen-Bornemisza Madrid
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Salisbury Cathedral from the Meadows
mk49
1831
Oil on canvas
on loan to the National Gallery,London
Painting ID:: 26358
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Salisbury_Cathedral_from_the_Meadows
mk49
1831
Oil on canvas
on loan to the National Gallery,London
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Dedham Lock and Mill
mk68
Oil on canvas
London,Victoria and Albert Museum
1820
Britain
Painting ID:: 30676
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Dedham_Lock_and_Mill
mk68
Oil on canvas
London,Victoria and Albert Museum
1820
Britain
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View of Salisbury Cathedral Grounds from the Bishop's House
mk68
Oil on canvas
London,
Victoria and Albert Museum
1823
Britain
Painting ID:: 30681
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View_of_Salisbury_Cathedral_Grounds_from_the_Bishop's_House
mk68
Oil on canvas
London,
Victoria and Albert Museum
1823
Britain
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The White horse
mk76
Dated 1819
Oil on canvas
51 3/4x74 1/8in
Painting ID:: 31837
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The_White_horse
mk76
Dated 1819
Oil on canvas
51 3/4x74 1/8in
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John_Constable
1776-1837
British
John Constable Locations
1837). English painter and draughtsman. His range and aspirations were less extensive than those of his contemporary J. M. W. Turner, but these two artists have traditionally been linked as the giants of early 19th-century British landscape painting and isolated from the many other artists practising landscape at a time when it was unprecedentedly popular. Constable has often been defined as the great naturalist and deliberately presented himself thus in his correspondence, although his stylistic variety indicates an instability in his perception of what constituted nature. He has also been characterized as having painted only the places he knew intimately, which other artists tended to pass by. While the exclusivity of Constable approach is indisputable, his concern with local scenery was not unique, being shared by the contemporary Norwich artists. By beginning to sketch in oil from nature seriously in 1808, he also conformed with the practice of artists such as Thomas Christopher Hofland (1777-1843), William Alfred Delamotte, Turner and, particularly, the pupils of John Linnell. Turner shared his commitment to establishing landscape as the equal of history painting, despite widespread disbelief in this notion. Nevertheless, although Constable was less singular than he might have liked people to believe, his single-mindedness in portraying so limited a range of sites was unique, and the brilliance of his oil sketching unprecedented, while none of his contemporaries was producing pictures resembling The Haywain (1821; London, N.G.) or the Leaping Horse (1825; London, RA). This very singularity was characteristic of British artists at a time when members of most occupations were stressing their individuality in the context of a rapidly developing capitalist economy
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